Dimensions of the Mind II (2025–2026), Takemura’s second-ever hand-carved marble sculpture, takes the form of the artist’s body and reflects on the state of body and mind. Through its organic shapes, the marble represents memories the artist holds. Grey marble was specifically chosen because it is neither black nor white, connecting more meaningfully to the artist’s practice in clear glass: the decision not to incorporate colour poetically represents the space in between. Takemura’s work carries intricate detail achieved entirely by hand, which is a rare feat in an era of automated carving.

Prue Venables works almost exclusively in porcelain, drawn to its capacity for extreme thinness and translucency, qualities she pushes to their technical limits, often working the clay so fine that light passes through the vessel walls. Honoured with the title of Australian Living Treasure and named a Loewe Foundation Craft Prize finalist, she is recognised worldwide for this exceptional mastery of the material. Over the past forty years, her work has evolved from traditional and functional objects to sculptural entities that inventively play with form and space, retaining a quiet, precise sensibility even as the forms have grown more abstract.

Venables presentation brings two exemplary examples of her practice, with Sentinel I, 2025 straight from exhibition in Prue Venables Sempre, Shepparton Art Museum, Victoria, 19 April 2025 - 16 August 2026.

Venables’ highly anticipated first solo exhibition with Gallery Sally Dan-Cuthbert will open 31 October and run until 5 December 2026.

AUD 15,000.00

Following a recent commission of a Landscape Portrait for King Frederik X and Queen Mary of Denmark installed in the Royal Palace in Copenhagen, and the duo’s first Australian survey exhibition, Hybrid Futures, at Artbank Melbourne earlier this year. The booth presents three works from that exhibition, marking the first time these works will be presented in Sydney and at an art fair in the Southern Hemisphere. The presentation demonstrates the breadth of the artists’ practice, with material transformation central to their methodology.

Landscape Portrait #63, 2023 sees organic matter collected from local environments interact with epoxy resin, forming compositions that register ongoing biological and chemical processes. The resulting work recalls the lush abundance of a Dutch Golden Age flower painting, its layered petals and foliage suspended in resin as if caught at the height of bloom, a still life rendered not through pigment but through nature’s own material held in permanent stasis.

Recently awarded an AM in the King’s Birthday Honours, Sally Smart presents a preview of her upcoming solo exhibition, marking her third with the gallery.

Smart is a process-oriented artist, often presenting narratives that characteristically subvert gender hierarchies through deconstruction and reconstruction of historical events and political associations with the traditional activities of women. Her work identifies with the art practices of Cubism, Dada, and Surrealism, and reflects a long engagement with avant-garde modernist women artists such as Sonia Delaunay, Hannah Hoch, Lyubov Popova, and Sophie Taeuber, all exponents of work with performance, collage and textiles and a lineage of practice she shares. 

The grid, a recurring device across Smart’s practice, returns in Wall Flower (Grid) 2026, structuring the work’s composition even as the layered textiles and gestural collage push against its order.

Sally Smart’s solo exhibition with Gallery Sally Dan-Cuthbert opens 19 September and runs until 24 October 2026.

Olive Gill-Hille’s figures are part of a body of work that continues the artist’s exploration of the idea that we are natural gatherers, collecting memories through physical tokens, ideas that originated in Memento, a work exhibited in the prestigious Rigg Design Prize 2025 and acquired by the National Gallery of Victoria. Gill-Hille transforms timber, a traditionally static material, into involved works of art that reference the human body.

There is a strength required in Gill-Hille’s transformation of timber, and in the use of the requisite machinery and equipment, that brings the artist’s own physical structure into acute focus. Importantly, this is amplified by that structure’s femininity: shapes of the feminine are reclaimed in these works, which are in dialogue with the modernist sculptures of male artists such as Constantin Brâncuși, Isamu Noguchi, and Jean (Hans) Arp.